Released in 2007 this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus harp and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00 Released in 2007 this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus harp and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00

Organ/Choral Score-More Love is the cornerstone movement of Songs for the Journey which was commissioned in 2010 to be performed alongside Gabriel Faure's Requiem and utilizes the same sonorous combination of horns harp organ violas cellos and bass. Songs for the Journey outlines and explores similar themes as the traditional Latin Requiem - love faith mortality surrender to an eternal will etc. - but in a less ecclesiastical framework with poems and texts drawn from a variety of sources. In assembling the texts words of a particularly personal nature were chosen to echo Faure's intent. The musical style of More Love is simple and direct and the message is positive and affirming making it appropriate for a variety of performance settings. Duration: 3:15 More Love is the cornerstone movement of Songs for the Journey which was commissioned in 2010 to be performed alongside Gabriel Faure's Requiem and utilizes the same sonorous combination of horns harp organ violas cellos and bass. Songs for the Journey outlines and explores similar themes as the traditional Latin Requiem - love faith mortality surrender to an eternal will etc. - but in a less ecclesiastical framework with poems and texts drawn from a variety of sources. In assembling the texts words of a particularly personal nature were chosen to echo Faure's intent. The musical style of More Love is simple and direct and the message is positive and affirming making it appropriate for a variety of performance settings. Duration: 3:15

from Breaking from Suite Remembrance-A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form. This movement is the third of the set. The touching text by Emily Dickinson is set to music in the form of an expressive Sarabande. Duration: 4:00 A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form. This movement is the third of the set. The touching text by Emily Dickinson is set to music in the form of an expressive Sarabande. Duration: 4:00

String Parts

Instrumental Parts

Organ/Choral Score-In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the third movement Hodie Christus natus based on the familiar Christmas text Today Christ is born today the Savior has appeared. Themovement begins majestically with the singers declaiming the text against a descending pedal motif. At measure 11 the tempo jumps to Vivo and the descending motif dances through the vocal lines. Light joyful the organ supports and punctuates and finally gets the descending melody all to itself as the choir sings Gloria in excelsis Deo. In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the third movement Hodie Christus natus based on the familiar Christmas text Today Christ is born today the Savior has appeared. Themovement begins majestically with the singers declaiming the text against a descending pedal motif. At measure 11 the tempo jumps to Vivo and the descending motif dances through the vocal lines. Light joyful the organ supports and punctuates and finally gets the descending melody all to itself as the choir sings Gloria in excelsis Deo.

Chamber Orchestra Set of Parts

The traditional text with spiritual roots has been adapted by the composer. With an unadorned melody set in a simple but beautiful musical language with open transparent harmonies this music can be sung well by groups of many different abilities and in many situations. Duration: 3:00 The traditional text with spiritual roots has been adapted by the composer. With an unadorned melody set in a simple but beautiful musical language with open transparent harmonies this music can be sung well by groups of many different abilities and in many situations. Duration: 3:00.

Love Me

The original composition by Randall Thompson (1899-1984) published in 1928 is for SSAA/SSAA Chorus. A version for SATB/SATB Chorus was published in 1986. The present TTBB arrangement remains true to the treble version lowering all voice parts one octave. This version for double TTBB chorus is useful under a wide variety of circumstances. It could be used as a Palm Sunday introit or procession. It is a great teaching piece for a school group or TTBB choir festival. It could be doubled on a double quartet of instruments. Duration: 2:30

This piece is a fast joyous outburst. The initial lines “I am wild I will sing to the trees” set the jubilant tone. The perpetual motion of the syllabic step-wise vocal lines is punctuated by staccato chords and eventually high arpeggio figures in the accompaniment. The song reaches a rousing climax on the optimistic line “Now at last I can live!” One of a set of six of Teasdale's love songs. Duration: 1:30

Sara Teasdale’s poem Oh day of fire and sun suggests a loud fast musical setting. The syncopated homo-phonic choral texture with high tessituras exudes drama and excitement: it balances the expansive gestures of the piano accompaniment. Vivid images like “Lifting into the sky” and “Diving into the sea” inspire soaring energetic vocal lines. One of a set of six of Teasdale's love songs. Duration: 1:30

The Day Is Done

From Songs for the Journey-This movement from Songs for the Journey has a text adapted from the poem Epitaph by Merrit Malloy When all that's left of me is love give me away. Duration: 3:00

The Vision

“The Friendly Beasts” portrays the animals who have protected Jesus and Mary during the birth. Each animal proudly takes its turn announcing its contribution. The donkey carried Mary “up hill and down.” The dove “cooed” the Child to sleep. At the end of the song all of the animals reappear in quick succession: donkey cow sheep dove. They recount the gifts they brought to Immanuel. The Clarinet plays a featured role enhancing the message of the lyrics. For example the Clarinet associates with each animal braying as a donkey warmly mooing as a cow embellishing as a sheep with “curly horns ” and fluttering upward with trills as a dove in flight. Duration: 4:15“The Friendly Beasts” portrays the animals who have protected Jesus and Mary during the birth. Each animal proudly takes its turn announcing its contribution. The donkey carried Mary “up hill and down.” The dove “cooed” the Child to sleep. At the end of the song all of the animals reappear in quick succession: donkey cow sheep dove. They recount the gifts they brought to Immanuel. The Clarinet plays a featured role enhancing the message of the lyrics. For example the Clarinet associates with each animal braying as a donkey warmly mooing as a cow embellishing as a sheep with “curly horns ” and fluttering upward with trills as a dove in flight. Duration: 4:15

The 18th-century poem Jesus Christ the Apple Tree found its way into an American hymnal compiled by Joshua Smith in 1784. Most often classified as a carol. A soprano soloist introduces the simple melody which is then harmonized in verse 2 and passed down to the tenor line in verse 3. Verse 4 finds the melody transposed up a third then embellished by a soprano descant on the final verse. Duration: 2:00 The 18th-century poem Jesus Christ the Apple Tree found its way into an American hymnal compiled by Joshua Smith in 1784. Most often classified as a carol. A soprano soloist introduces the simple melody which is then harmonized in verse 2 and passed down to the tenor line in verse 3. Verse 4 finds the melody transposed up a third then embellished by a soprano descant on the final verse. Duration: 2:00

The text for this carol was inspired by the priest Phillips Brooks’ visit to Bethlehem in 1895. It was set to music by his organist at Trinity Church Boston Lewis Redner in 1868. The arrangement uses three of the four verses. The middle second verse features a modulation to the subdominant key and the melody moves from the top voice to an inner voice. The third and last verse features an obbligato solo melody. The arrangement was completed in 2017 for TTBB voices with the SATB and SSAA arrangements following in 2018. Duration: 3:30The text for this carol was inspired by the priest Phillips Brooks’ visit to Bethlehem in 1895. It was set to music by his organist at Trinity Church Boston Lewis Redner in 1868. The arrangement uses three of the four verses. The middle second verse features a modulation to the subdominant key and the melody moves from the top voice to an inner voice. The third and last verse features an obbligato solo melody. The arrangement was completed in 2017 for TTBB voices with the SATB and SSAA arrangements following in 2018. Duration: 3:30

The text for this carol was inspired by the priest Phillips Brooks’ visit to Bethlehem in 1895. It was set to music by his organist at Trinity Church Boston Lewis Redner in 1868. The arrangement uses three of the four verses. The middle second verse features a modulation to the subdominant key and the melody moves from the top voice to an inner voice. The third and last verse features an obbligato solo melody. The arrangement was completed in 2017 for TTBB voices with the SATB and SSAA arrangements following in 2018. Duration: 3:30The text for this carol was inspired by the priest Phillips Brooks’ visit to Bethlehem in 1895. It was set to music by his organist at Trinity Church Boston Lewis Redner in 1868. The arrangement uses three of the four verses. The middle second verse features a modulation to the subdominant key and the melody moves from the top voice to an inner voice. The third and last verse features an obbligato solo melody. The arrangement was completed in 2017 for TTBB voices with the SATB and SSAA arrangements following in 2018. Duration: 3:30

Released in 2007 this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus harp and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00 Released in 2007 this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus harp and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00